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Revolutionary Girl Utena Episode 4 Liveblog

Join us this week for discussions of time, projecting fantasies onto others, non-diegetic inserts, and “I didn’t realize this was going to be a hentai”

This episode starts with a flashforward structure, rather than a flashback to the fairytale. This is also our first two-part episode, which is something I might come back to later in the series -- every one of the Student Council gets a two-part duel at some point, most of which are in the third arc (Saionji becomes a prop for Wakaba’s story in the BRS), but Miki gets his in the very beginning. (I’m not sure what to do with Touga here, since he arguably gets two multi-part episodes, one in the first arc and one in the last arc.)

Regardless, opening with letting us know that Utena will have to face Miki in the Dueling Arena is a unique choice here. No other characters get that kind of flashforward. I think that this happens for a few reasons. The kind of obvious, teaching you how to watch the show reason is that this is our first duel with someone other than Saionji, and we are being told by the series both that the characters aren’t what they seem at first glance (sweet, gentle Miki is shown to be possessive and antagonistic) and that we should, all along, not be taking these characters at face value. Having Miki challenge Utena to a duel without the flashforward would create a greater element of surprise, but surprise is not the motivating factor here -- rather, the show is telling us to look for clues as to how these characters are functioning. (I think that it also creates even more tension to know from the start of these two episodes that Miki will challenge Utena to a duel, since you are then anticipating what events could possibly lead up to it.) 

The other, less surface-level answer is that Miki, of all the Duelists (well, all the ‘main’ Duelists, not counting Mikage), has the closest and strangest relationship with time. We’ve already witnessed this with his use of the stopwatch. He’s also the character who is most out of sorts with time in his story arc -- Juri has ties to the past, but it’s mostly causing her pain in the present, Saionji has ties to the past and is seeking eternity but is still doing so in the present, Nanami and Touga have some ties to time and the past but it isn’t a major structuring force for either of their characters (I would say they’re both more future-oriented than anything, but not strongly so). Miki, by contrast, is constantly seeking to recapture a lost past that he never really /truly/ had access to. All he has is his memory, tainted heavily with nostalgia, of a childhood he never really got to live or enjoy because he’s a prodigy, and his creepy af fantasies of returning to a sense of oneness with his twin. His entire motivation is about reliving and trying (in vain) to access an idealized version of the past, while he both resists and struggles to fit normatively into the adulthood he is moving towards. It would make sense for these reasons to have the opening of his first set of focus episodes place both him and the audience out of sorts with time by using this flashforward structure (and the later ambiguous transition that makes the flashforward seem almost like a memory).

I would like to take a moment to also appreciate Juri taking the place of Touga as the person dramatically watching from the sidelines. Where even is that location? How many stairs are there to get up there? 

We move directly into the next scene with little in the way of fanfare -- there’s a bit of a dissolve, but the music continues, so it seems like a subjective view or memory of Miki’s, which gives some ambiguity to when the scene with Nanami takes place. Is it after the duel and Miki is just moping around after losing, or does it take place before? It takes place before (as later plot developments show, but looking at it closer, it’s left pretty ambiguous in terms of cinematic structure, if not in terms of narrative.

Miki is also a dramatic edgelord in this scene and I feel like he’s always seen as so soft and sweet and innocent that people forget this side of him. He’s just as extra as the rest of the Duelists. 

This is a pretty ambiguous line -- we’re led to think that “she” is Anthy, since Nanami finds Anthy’s photo right after this line is spoken, but it could just as easily be Kozue. Of course, we don’t know that Kozue exists yet on a first watch, so the ambiguity only works on subsequent viewings. But since Anthy becomes a Kozue stand-in for Miki, I feel like this comparison works.

Anthy slap count: 4 (drink another shot!)

Miki timed the exact moment when he needs to go rescue Anthy from the Mean Girls Brigade with his stopwatch. Oh my god. How extra can you be.

I haven’t gone through and tested this theory, but I feel like Miki episodes are far more likely to get non-diegetic inserts like this one. It’s meant to punctuate the scene (marking in this case Miki blushing when anthy thanks him for saving her), and I’m wondering why these tend to show up the most in his episodes. Does he have the most tenuous grip on the diegetic world of the show (see also: the stopwatch)? Is there something about Miki’s character on a diegetic level that would make sense for there to be a lot of non-diegetic inserts (such as his living in a fantasy world moreso than the other characters, despite all of them having to face ‘reality’ in some way or another, even if that ‘reality’ is the construct of the narrative)? Regardless, these moments really point to the ways in which the narrative structures here start to break down.

We interrupt your scheduled liveblogging to present Juri dramatically walking down the stairs in the coolest library your school will never have. (I believe the library set makes a reappearance in the BRS, but is largely underutilized.)

We also bring you

Juri’s utter confusion at Miki talking about happiness, and quickly changing the topic. “Happiness? what’s that?”

Though, this scene shows part of what Miki’s problem is -- instead of focusing on what he can do to better himself and create his own happiness, he places all of that happiness on the idealized figure of another person. I can’t decide if this is a typically feminine trait or if he’s doing it in the typically masculine (after all, the Manic Pixie Dream Girl exists as a trope) way.

Another scene of Utena being shocked by someone having the ring...how has she not learned yet that the people with the weird outfits are part of the Student Council? Is it really that much of a shock?

While Anthy is, by now, used to being the site of projected fantasies by others, this particular projection is one that puzzles me more the more I think about it. Up to this point, we’ve pretty much only seen Anthy in Rose Bride persona -- meek, submissive, ultra feminine -- and we haven’t seen her ‘witch’ persona yet (at least, nothing more than the tiniest of hints of it). We haven’t seen Kozue at all, and I feel like her reveal is meant to be a bit of a shock that contrasts to Anthy (or the Anthy we see here), but even so, Kozue must be the site of even more projection by Miki, since she is brash and revels in being the ‘bad girl’ and is about as far from this side of Anthy as you can get. What is it about Anthy, then, or at least the side of her we see here, that reminds Miki of Kozue, besides his own highly rose-tinted memories of her?

Then again, they may be more similar upon a rewatch than we see at first glance.

I think that the way that Miki talks about the mysterious “girl he knows” is meant to make her seem distant, like he no longer knows her, or like she died, or something along those lines, but she’s still very much in his life. Hell, they still live together. Here it’s more of a metaphorical distance than a physical or temporal one. It’s also building up the slow reveal of Kozue, and an opportunity for Miki to be even more dramatic. ;]

 How much do you want to bet that Anthy failed her test on purpose as an excuse to push Miki into dueling?

The scenes where Miki is playing piano seem to corroborate the issues with the sense of time that his episodes have. I’d post a gif if I could, but his movements aren’t fluid here -- he pauses in one area and then it fades to the next pose -- creating a sense of being out of joint with time. (I think part of this is to save on animation costs -- fewer inbetweens when they have a more complicated lighting scheme -- but it still holds)

And we all know that music is an inherently temporal medium.

Also, Touga showed up out of literally nowhere just now.

These shots move between diegetic (subjective viewpoint, or a memory) and non-diegetic, it seems. They seem to be non-diegetic inserts during the duel itself, but here, it seems to be a memory.

Note the way that it is drawn to look like a photo in an album or illustration in a children’s book. This isn’t a “real” memory, but rather an ideal.

The butterflies even float on top of the picture, leaving drop shadows, further cementing this as subjective, not objective.

I don’t have too much to say about the Shadow Girls play this time, though it is operating on two levels: one is the surface level of warning you that the girl you seek may not be what she seems (both Anthy and Kozue in this case), and the other is the level of “wow B-ko’s first love was kind of an asshole if he left her over things as trivial as liking pro wrestling,” which is to say, it’s also an indictment of people like Miki who project their fantasies of what a ‘proper’ girl should be onto their love objects.

I don’t have much to say about the “Operation: Himemiya Anthy is a weirdo who keeps a [weird animal] in her [domestic space]” segment (though I do thoroughly enjoy it), aside from noting that it speaks to this sense of projection -- not only is Miki so enamored with Anthy that he thinks it’s cute that she has a pencil tin full of snails, but Nanami is wanting to project her own weirdness onto Anthy for the sake of the others. Nanami is the one walking around with a live octopus in her bag, but she’s not the weirdo -- Anthy is.

Nanami really does have the best magical thinking of any of the characters, though. It’s exactly like a 13 year old to /keep trying these things/ even though it’s obvious that it’s not going to work, and even if it wasn’t obvious from the start, it should have been after the first failed attempt.

I do enjoy the snail getting a spinning rose frame, though.

I’ve seen enough hentai to know where this is going.

I’m not sure I understand the moment with the elephant flipbook. She starts laughing uncontrollably while playing with it, and Utena tells her to be serious. Is she actually laughing at the pranks she just played on Nanami and can’t control herself? Is she actually enjoying herself with the flipbook? Is it (along with the animals and the shaved ice) meant to show her as childish? Is it foreshadowing for the elephants that will arrive in a few episodes?

Nanami’s outburst here is interesting for a few reasons, as well. She seems to be concerned with the fact that while Anthy seems to be the image of the ‘proper’ feminine love object for many people, she’s actually rather improper, as we have seen all episode. While this is at least partially a policing of other women’s femininity, it can also be seen an Nanami starting to see through Anthy’s facade and the facade of the entire dueling game, whether she realizes it or not, long before she simply rejects the system altogether.

And we conclude with explicitly pointing to the ‘sunlit garden’ as a site of fantasy, not of real memory, as shown by substituting Anthy into the memories/photographs.

Join us next week for the thrilling conclusion! Will Miki duel Utena? Will he win Anthy’s hand? Will he ever regain his ‘shining thing’? Is Kozue one of the best characters in this show? 

As always, if you have comments or want to discuss anything in more depth, please do so.